Christy Plott Redd says she likes to take the fancy out of fashion, but on a recent afternoon in Manhattan—her auburn hair falling in carefully curled waves beneath a mink hat, her eyelashes pressed into thick half-moons over shadowed lids, her teeth flashing white in an outline of Smashbox fuchsia lipstick—the fancy was very much on display. She wheeled behind her a suitcase the size of a small car. Inside were dozens of alligator skins, samples she was toting around to sell to big-name fashion designers—Ralph Lauren, Oscar de la Renta—for their next collections.
Redd is 36 and the creative director, head of global sales, and co-owner of American Tanning and Leather, a family tannery based in Griffin, Georgia, 40 miles south of Atlanta. But she introduces herself by a far more flamboyant title: the Queen of Gator. It’s her handle on Twitter and Instagram. “La Reina” is engraved on her silver ID bracelet; “Queen of Alligator” is embroidered inside her mink coat. The tongue of her right pink-and-green Nike running shoe says “Gator”; the left says “Queen.” A pink-trimmed calling card is letterpressed with her title and a crown (she’ll tell you it’s her personal card, not her business card, and gleefully dole out one of each).
The title is self-appointed. Several years ago, Redd heard about an alligator buyer from Italy working in Florida and calling himself the King. This was annoying. For one thing, there are no alligators in Italy. Live ones, anyway. More importantly, royalty is demonstrated by blood line, and nobody in the world can lay claim to one more established than Redd’s, whose great-grandfather founded the family business almost a century ago in Blairsville, whose grandfather served time in prison for illegally selling alligator skins in the 1970s, and whose father did too, for that matter. American Tanning is the oldest and largest alligator tannery in the country—and one of the only major ones in the world. Alligator mississippiensis, the American alligator, has been establishing its foothold in what is now the southern United States—its sole habitat—for 180 million years. The Plotts’ regional lineage may stretch back a mere 200 or so, but in any case, what family’s fortune has been entwined with the alligator’s for longer than theirs? Certainly no Italian arriviste’s.
In New York, Redd had scheduled back-to-back appointments: One hour, she had a meeting at a flashy Madison Avenue headquarters; the next, she was in a streamlined downtown studio with a young designer. Redd has been making calls like this (in New York, Milan, Paris) for nearly 15 years, and it’s not uncommon to find her in settings that couldn’t be farther—geographically, culturally, metaphysically—from the rotting reeds of the swamps where her raw material is captured. But she refuses to be intimidated, a gator out of water.
“I don’t like mean girls,” Redd explained. “People say I am down to earth. I’m from Griffin, Georgia, and I treat these people the same I would anyone else.” In other words, she’s got fishermen and farmers on speed dial, but she’s wearing diamonds—preferably her long marquise-shaped earrings by designer and customer Opal Stone, wife of actor Ron Perlman.
On this day, the prospective buyers were coming to Redd’s hotel room, where dozens of hides—in a shape evoking their previous owners, legs and tail dangling—were spread across the desk and slung over the backs of chairs. Redd used one hide to tie back the drapes to let in more sun. The general scaliness, compounded by colors not found in nature, could prompt a shudder in the uninitiated.
One potential customer was an Upper East Side handbag maker who had never bought alligator before. She had an idea: a clutch that would take advantage of the button-sized hole at the top of the tail of every hide, as a way to toggle it shut. Redd didn’t hesitate. “Yeah, that’s the butthole,” she said. “It would be a little butthole clutch.” Then she gently suggested a magnet closure instead. (...)
Christy Plott was born in 1979, the same year that the U.S. Fish and Wildlife Service, encouraged by a rebound in the alligator population, agreed to resume the legal trade of alligator on a strictly regulated basis. The idea was that alligators were such a valuable commodity, landowners would be more inclined to protect the animals’ habitat. Commerce could benefit conservation.
That year, at an auction in Florida, Chris Plott scooped up the first legal alligator skins available in more than a decade. But because the alligator trade had been closed, there wasn’t anyone around to tan them. With 5,000 skins in hand, he decided to build his own tannery. In 1980, American Tanning and Leather was born. Q.C. died of cancer that same year, at 56, leaving Chris to handle business on his own. American Tanning’s first hides were displayed at a show in St. Louis, but they weren’t up to par. Chris went to Europe and brought back a French tanner to advise him. Every year, he said, he lost hundreds of thousands of dollars on alligator, subsidized by his fur business.
When the Fish and Wildlife Service declared the alligator population fully recovered in 1987, things got easier for him, and in the early 1990s, Chris started to make a profit on alligators. Lucky for him, because around the same time, fur was on its way out—thanks in no small part to high-profile, celebrity-spiked animal rights protests, like PETA’s 1994 ad campaign featuring five supermodels claiming they’d “rather go naked than wear fur.” Before long, the wild fur business was nearly defunct, and the Plotts went all in with alligator. (...)
The 30,000 skins the factory processes each year arrive in salted, rolled, refrigerated bundles, courtesy of year-round harvests from alligator farms; periodic catches by nuisance trappers; and, in late summer, hunters and fishermen. About half of AmTan’s skins come from farms, the other half from wild harvest. By far, the most wild gators come from Louisiana, where the Plotts bought a processing center in 2008. During hunting season, the Plotts stake out along the Atchafalaya Basin in St. Martinville, the birthplace of Cajun culture, to purchase whole alligators, typically from commercial fishermen who buy from the docks. At their facility, the meat is separated for sale to seafood dealers; the skins are salt-cured and shipped to Griffin. There, the skins are converted to leather in a series of steps that includes preserving, stretching, drying, chrome dyeing, and polishing. Midway through the process, the skins are said to be “in crust.” The Plotts stock crust year-round, awaiting orders for specific hues and finishes, after which they emerge in a Skittles spectrum of colors, with names like Tahiti, viola, suntan, and pretty-in-pink. Like diamonds, they are graded for quality on a five-point scale—one being the highest tier and accounting for, usually, just 10 percent of the wild skins. Redd’s older brother Damon and his team first grade the skins in raw, then Christy grades them in both crust and in their finished state, looking for any scar or scratch that could render them less valuable. In this relationship-based business, the tanner determines the grade, and if a customer isn’t happy, they ship them back. The risk is that they could switch to a competitor, so the tanner aims to please.
In January, with last season’s skins in crust but many not yet sold, shelves in the crust room were stacked high with the grayish leather, and yellow shopping carts spilled over with sorted bundles. Redd said they represented about $5 million worth.
She put her red manicured fingertips together as if preparing for a dive and said, laughing, “I’m like Scrooge McDuck diving into his money pit—only mine’s filled with alligator skins.” She drew the last word out into two syllables.
by Mary Logan Bikoff, Atlanta Magazine | Read more:
Images: Alex Martinez and Zach Wolfe
Redd is 36 and the creative director, head of global sales, and co-owner of American Tanning and Leather, a family tannery based in Griffin, Georgia, 40 miles south of Atlanta. But she introduces herself by a far more flamboyant title: the Queen of Gator. It’s her handle on Twitter and Instagram. “La Reina” is engraved on her silver ID bracelet; “Queen of Alligator” is embroidered inside her mink coat. The tongue of her right pink-and-green Nike running shoe says “Gator”; the left says “Queen.” A pink-trimmed calling card is letterpressed with her title and a crown (she’ll tell you it’s her personal card, not her business card, and gleefully dole out one of each).The title is self-appointed. Several years ago, Redd heard about an alligator buyer from Italy working in Florida and calling himself the King. This was annoying. For one thing, there are no alligators in Italy. Live ones, anyway. More importantly, royalty is demonstrated by blood line, and nobody in the world can lay claim to one more established than Redd’s, whose great-grandfather founded the family business almost a century ago in Blairsville, whose grandfather served time in prison for illegally selling alligator skins in the 1970s, and whose father did too, for that matter. American Tanning is the oldest and largest alligator tannery in the country—and one of the only major ones in the world. Alligator mississippiensis, the American alligator, has been establishing its foothold in what is now the southern United States—its sole habitat—for 180 million years. The Plotts’ regional lineage may stretch back a mere 200 or so, but in any case, what family’s fortune has been entwined with the alligator’s for longer than theirs? Certainly no Italian arriviste’s.
In New York, Redd had scheduled back-to-back appointments: One hour, she had a meeting at a flashy Madison Avenue headquarters; the next, she was in a streamlined downtown studio with a young designer. Redd has been making calls like this (in New York, Milan, Paris) for nearly 15 years, and it’s not uncommon to find her in settings that couldn’t be farther—geographically, culturally, metaphysically—from the rotting reeds of the swamps where her raw material is captured. But she refuses to be intimidated, a gator out of water.
“I don’t like mean girls,” Redd explained. “People say I am down to earth. I’m from Griffin, Georgia, and I treat these people the same I would anyone else.” In other words, she’s got fishermen and farmers on speed dial, but she’s wearing diamonds—preferably her long marquise-shaped earrings by designer and customer Opal Stone, wife of actor Ron Perlman.On this day, the prospective buyers were coming to Redd’s hotel room, where dozens of hides—in a shape evoking their previous owners, legs and tail dangling—were spread across the desk and slung over the backs of chairs. Redd used one hide to tie back the drapes to let in more sun. The general scaliness, compounded by colors not found in nature, could prompt a shudder in the uninitiated.
One potential customer was an Upper East Side handbag maker who had never bought alligator before. She had an idea: a clutch that would take advantage of the button-sized hole at the top of the tail of every hide, as a way to toggle it shut. Redd didn’t hesitate. “Yeah, that’s the butthole,” she said. “It would be a little butthole clutch.” Then she gently suggested a magnet closure instead. (...)
Christy Plott was born in 1979, the same year that the U.S. Fish and Wildlife Service, encouraged by a rebound in the alligator population, agreed to resume the legal trade of alligator on a strictly regulated basis. The idea was that alligators were such a valuable commodity, landowners would be more inclined to protect the animals’ habitat. Commerce could benefit conservation.
That year, at an auction in Florida, Chris Plott scooped up the first legal alligator skins available in more than a decade. But because the alligator trade had been closed, there wasn’t anyone around to tan them. With 5,000 skins in hand, he decided to build his own tannery. In 1980, American Tanning and Leather was born. Q.C. died of cancer that same year, at 56, leaving Chris to handle business on his own. American Tanning’s first hides were displayed at a show in St. Louis, but they weren’t up to par. Chris went to Europe and brought back a French tanner to advise him. Every year, he said, he lost hundreds of thousands of dollars on alligator, subsidized by his fur business.
When the Fish and Wildlife Service declared the alligator population fully recovered in 1987, things got easier for him, and in the early 1990s, Chris started to make a profit on alligators. Lucky for him, because around the same time, fur was on its way out—thanks in no small part to high-profile, celebrity-spiked animal rights protests, like PETA’s 1994 ad campaign featuring five supermodels claiming they’d “rather go naked than wear fur.” Before long, the wild fur business was nearly defunct, and the Plotts went all in with alligator. (...)
The 30,000 skins the factory processes each year arrive in salted, rolled, refrigerated bundles, courtesy of year-round harvests from alligator farms; periodic catches by nuisance trappers; and, in late summer, hunters and fishermen. About half of AmTan’s skins come from farms, the other half from wild harvest. By far, the most wild gators come from Louisiana, where the Plotts bought a processing center in 2008. During hunting season, the Plotts stake out along the Atchafalaya Basin in St. Martinville, the birthplace of Cajun culture, to purchase whole alligators, typically from commercial fishermen who buy from the docks. At their facility, the meat is separated for sale to seafood dealers; the skins are salt-cured and shipped to Griffin. There, the skins are converted to leather in a series of steps that includes preserving, stretching, drying, chrome dyeing, and polishing. Midway through the process, the skins are said to be “in crust.” The Plotts stock crust year-round, awaiting orders for specific hues and finishes, after which they emerge in a Skittles spectrum of colors, with names like Tahiti, viola, suntan, and pretty-in-pink. Like diamonds, they are graded for quality on a five-point scale—one being the highest tier and accounting for, usually, just 10 percent of the wild skins. Redd’s older brother Damon and his team first grade the skins in raw, then Christy grades them in both crust and in their finished state, looking for any scar or scratch that could render them less valuable. In this relationship-based business, the tanner determines the grade, and if a customer isn’t happy, they ship them back. The risk is that they could switch to a competitor, so the tanner aims to please.
In January, with last season’s skins in crust but many not yet sold, shelves in the crust room were stacked high with the grayish leather, and yellow shopping carts spilled over with sorted bundles. Redd said they represented about $5 million worth.
She put her red manicured fingertips together as if preparing for a dive and said, laughing, “I’m like Scrooge McDuck diving into his money pit—only mine’s filled with alligator skins.” She drew the last word out into two syllables.
by Mary Logan Bikoff, Atlanta Magazine | Read more:
Images: Alex Martinez and Zach Wolfe
